Iliad 12.277

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 12.277 focus
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 12.277 focus
Iliad Perseus (Homer. The Iliad of Homer, rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. London: Longmans, Green, and Co, 1898.) — 12.290 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.277 focus
Thus did the two go about shouting and cheering the Achaeans on. As the flakes that fall thick upon a winter’s day, when Zeus is minded [280] to snow and to display these his arrows to humankind—he lulls the wind to rest, and snows hour after hour till he has buried the tops of the high mountains, the headlands that jut into the sea, the grassy plains, and the tilled fields of men; the snow lies deep upon the forelands, and havens of the gray sea, [285] but the waves as they come rolling in stay it that it can come no further, though all else is wrapped as with a mantle so heavy are the skies with snow— even thus thickly did the stones fall on one side and on the other, some thrown at the Trojans, and some by the Trojans at the Achaeans; and the whole wall was in an uproar.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.277 focus
Thus in the van they shouted, and awoke
New courage in the Greeks. As when the flakes
Of snow fall thick upon a winter-day,
335
When Jove the Sovereign pours them down on men,
Like arrows, from above; - he bids the wind
Breathe not; continually he pours them down,
And covers every mountain-top and peak,
And flowery mead, and field of fertile tilth,
340
And sheds them on the havens and the shores
Of the gray deep; but there the waters bound
The covering of snows, - all else is white
Beneath that fast-descending shower of Jove; —
So thick the shower of stones from either side
345
Flew toward the other, - from the Greeks against
The Trojans, and from them against the Greeks;
And fearful was the din along the wall.
Yet would illustrious Hector and the men
Of Troy have failed to force the gates and burst
350
The bar within, had not all-seeing Jove
Impelled his son Sarpedon to attack
The Greeks as falls a lion on a herd
Of horned beeves. The warrior held his shield,
A brazen orb, before him, - beautiful,
355
And fenced with metal; for the armorer laid
Broad plates without, while under these he sewed
Bull's-hides the toughest, edged with golden wires
Upon the rim. With this the warrior came,
Wielding two spears. As when a lion, bred
360
Among the mountains, fasting long from flesh,
Comes into the fenced pastures, without fear,
To prey upon the flock; and though he meet
The shepherds keeping watch with dogs and spears,
Yet will he not be driven thence until
365
He makes a spring into the fold and bears
A sheep away, or in the act is slain,
Struck by a javelin from some ready hand; -
Sarpedon, godlike warrior, thus was moved
By his great heart to storm the wall and break
370
Through the strong barrier; and to Glaucus, son
Of Lycia's king Hippolochus, he said: -
"Why, Glaucus, are we honored, on the shores
Of Lycia, with the highest seat at feasts,
And with full cups? Why look men up to us
375
As to the gods? And why do we possess
Broad, beautiful enclosures, full of vines
And wheat, beside the Xanthus? Then it well
Becomes us, foremost in the Lycian ranks
To stand against the foe, where'er the fight
380
Is hottest; so our well-armed Lycian men
Shall say, and truly: 'Not ingloriously
Our kings bear rule in Lycia, where they feast
On fatlings of the flock, and drink choice wine;
For they excel in valor, and they fight
385
Among our foremost.' O my friend, if we,
Leaving this war, could flee from age and death,
I should not here be fighting in the van,
Nor would I send thee to the glorious war;
But now, since many are the modes of death
390
Impending o'er us, which no man can hope
To shun, let us press on and give renown
To other men, or win it for ourselves!"
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.277 focus
Their ardour kindles all the Grecian powers;
And now the stones descend in heavier showers.
330
As when high Jove his sharp artillery forms,
And opes his cloudy magazine of storms;
In winter's bleak uncomfortable reign,
A snowy inundation hides the plain;
He stills the winds, and bids the skies to sleep;
335
Then pours the silent tempest, thick and deep:
And first the mountain tops are cover'd o'er,
Then the green fields, and then the sandy shore;
Bent with the weight the nodding woods are seen,
And one bright waste hides all the works of men:
340
The circling seas alone absorbing all,
Drink the dissolving fleeces as they fall.
So from each side increas'd the stony rain,
And the white ruin rises o'er the plain.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.277 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.277 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

New Alexandria Commentaries

Douglas Frame

example of firmly established meaning of halonai, “to be killed” as adduced by its opposition to, kaktámen, “to kill.” Compare to Il. XVII.506

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comparison with I.09.104 with regards to noos and muthos

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Gregory Nagy

At the very beginning of Iliad 12, we modern readers may find that we have suddenly hit a wall—the Achaean Wall. It seems difficult for us to understand what the Master Narrator of the Iliad is really saying when he foretells the future destruction or deconstruction of this structure. And the main obstacle to our understanding here is not the presence of the Achaean Wall in the Iliad but rather its foretold absence—after all is said and done in the narrative. For the ancients who heard the Iliad narrated to them, by contrast, the future absence of the Achaean Wall was perfectly understandable in terms of the narration itself. And that is because the Master Narrator presupposes that there is no Achaean Wall to be seen in the Trojan landscape at the time of narration. Such a presupposition shapes the narrative of Iliad 12—and in fact it shapes the whole narrative of the Iliad. The setting for this narrative remains the world of heroes, which is larger-than-life because it is situated in the heroic past, but the setting for the actual narration of this narrative is the post-heroic world of a present time as figured by the Master Narrator himself. The staging of the heroic world by the Master Narrator is comparable to what is called the mise-en-scène in the traditions of French theater and film. And the predominant feature of the Iliadic mise-en-scène or scenery is the Achaean Wall, not the Trojan Wall. That is why the building of this structure by the Achaeans in Iliad 7 had been opposed by the gods Poseidon and Apollo, the original builders of the Trojan Wall. But the Achaean Wall needed to be built by the Achaeans to protect them and their ships from the fire of Hector—which would not be threatening them if Achilles had not been insulted by Agamemnon in Iliad 1. If we think of the overall plot of the Iliad as a scenario, then the Achaean Wall can be seen as an integral feature of the scenery for this scenario.

draft js image error“Siege of the Greek Camp.” Crispijn van de Passe (I) (1613). Public domain image, via Rijks Museum. (https://www.rijksmuseum.nl/en/collection/RP-P-OB-16.043)

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In Homeric diction, a neuter plural subject can “take” a verb in the plural instead of the singular.

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As noted in the comment on I.12.130, Leonteus is the only Iliadic figure who is called ‘equal to Ares’ besides Hector, Patroklos, and Achilles (see also BA 33). Relevant is the fact that he qualifies here at I.12.188 as ozos Arēos ‘attendant of Ares’, also at I.02.745, I.23.841. The word ozos in this description, which applies also to other heroes as listed above, can be explained etymologically as (h)o-sd-os, meaning ‘seated together with’: so a hero who qualifies as ozos Arēos ‘attendant of Ares’ can be pictured as literally ‘seated together with Ares’ (BA 295 = ch.17§5n8). The application of this epithet to a hero indicates that such a hero, as a warrior, is destined to become a ritual substitute for the war-god Ares, in the sense that generic warriors are described as therapontes Arēos ‘attendants of Ares’ in the Iliad*. See the comment on I.06.067.

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In the Battle for the Ships, the objective of Hector is for the Trojans to set on fire the beached ships of the Achaeans, and, for this objective to be realized, the Trojans must break through the Wall of the Achaeans. There is a reference to such a breakthrough already at I.12.090. For further references, which occur mostly in Iliad 12, to the Trojan objective of breaking through the Wall, see I.12.090, I.12.223, Ι.12.257, I.12.261–262, I.12.308, I.12.418, Ι.12.440–441, I.13.679–680. Many of these references mention also the fire that threatens the beached ships of the Achaeans. From here on, further Iliadic mentions of (1) the Battle for the Ships, (2) the fire of Hector and his Trojans, and (3) the breakthrough of the Trojans in penetrating the Wall of the Achaeans will intensify. Accordingly, for practical reasons, comments on these mentions will from here on refer back only to the anchor comment as formulated here at I.12.198.

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The meaning of the noun theopropos as ‘interpreter of signs’ is defined clearly in this verse: the role of such a person is ‘to interpret signs’, hupo-krinesthai, that is, ‘to respond to signs’ by distinguishing what is real from what is unreal. See the note on O.19.535. Relevant are the post-Homeric uses of the derivative agent noun hupo-kritēs in two senses, ‘dream-interpreter’ and ‘actor’ (HC 1§14). Also relevant is the implication here at I.12.228 of a coextensiveness between oracular poetry and epic.

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Hector here says that he understands the Will of Zeus, and that the god has already signaled his Will by nodding, I.12.236. We have seen such nodding before, at I.01.524–530 and at I.08.175–176. We have also seen, at I.08.175–176, that the Will of Zeus as signaled by his nodding will bring nīkē ‘victory’ to the Trojans and pēma ‘pain’ to the Achaeans. So too the nodding of Zeus here at I.12.236 signals once again the Will of Zeus, expressed in this case by way of the plural of boulē, ‘will’, which is boulai. This noun boulē, as noted already at I.01.005, I.01.524–530, I.10.043–052, I.10.415, I.11.627, also conveys the idea of ‘planning’, not just ‘wishing’. We may compare the plural boulai ‘plans’ of Zeus at O.08.082, as noted in the comments on I.11.347.

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Zeus as terpi-kéraunos ‘he whose bolt strikes’ is asserting here his authority as the god of thunder and lightning. He now sends a violent windstorm from the heights of Mount Ida, thus making a positive signal for the Trojans and a negative one for the Achaeans, I.12.252–254.

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Zeus, sending a violent windstorm from the heights of Mount Ida at I.12.252–254, now signals at I.12.255 that this kūdos or ‘sign of glory’ goes to the Trojans, who are already starting to break through the Wall of the Achaeans, I.12.256–257. For more on the breakthrough of the Trojans, see the list of references in the comment for I.12.198.

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The two warriors who are jointly named by way of the dual form Aiante here, about whom there will be more to say in the comment on I.12.335–336, are urging the Achaeans to keep up the fight. To encourage the Achaeans, the dual Aiante say that it does not matter whether different warriors will make greater or smaller contributions to the effort: after all, warriors are not homoioi ‘the same as’ each other, since some are superior and some are middling and some are inferior in warfare, I.12.269–270. The word homoio- ‘similar to, same as’, used in comparisons, displays the semantics of relativism as well as absolutism in Homeric diction. For more on homoio- ‘similar to, same as’ see the anchor comment at I.05.441.

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The objective of the hero Sarpedon, as he declares here at I.12.318 to his fellow warrior Glaukos, is that the two of them must not be akléees ‘without epic glory [kleos]’. The people whom the two of us rule in Lycia, he continues, must recognize such an objective. This way, the tīmē ‘honor’ that the two of us receive in Lycia, I.12.310 (τετιμήμεσθα), which is a sign of our status there as cult heroes, will be matched by the kleos ‘glory’ that the two of us will receive as epic heroes here in the Iliad.

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Leonard Muellner

comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

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analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

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analysis of kēla as weapons that are thrown pieces of fire

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Richard Martin

Polydamas' allegorical reading of a bird-sign from Zeus (12.209-22) is one of two augury passages that provide the discourse background for Achilles' bird simile in Book 9 (9.323-26). In full view of the Trojans, an eagle, bitten by the snake he carries, drops it and "did not succeed in carrying it to his children, to give to them" (12.222). He predicts on this basis that the Trojans will not return from a sortie against the ships. Polydamas prefaced his prediction with the words nun aut' exereō hōs moi dokei einai arista (12.215). Achilles, before comparing himself to a bird, uses the similar phrase autar egōn ereō hōs moi dokei einai arista (9.314). Like the augurs, Achilles draws a moral from the depiction of the bird; his individual shaping consists in pointing the moral toward himself and toward the past, not the future, as both Odysseus and Polydamas do in their augury speeches (Martin 1993:204).

For the bird simile in Achilles' speech, see the comment on Iliad 9.323-326.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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Sarpedon's famous defense of the heroic code at 12.310-28 was a key passage in Adam Parry's argument about the "language of Achilles." Parry found that all Iliadic heroes agreed on the main point of Sarpedon's speech—that honor equals tangible goods—and then compared this universal agreement to Homer's formulaic style, arguing that Achilles' disillusionment with this system put him outside the "common language." Claus subsequently pointed out that Achilles and Sarpedon express a vision of heroism that is in fact akin, in its assumption that the hero battles not just for his own glory and gain, but for the honor of having benefited his companions without "pay," and that the two can speak different formulas and use various rhetorical devices and still express the same point of view. The rhetorical questions at 12.310-14, moreover, find a close parallel in Achilles' questions at 9.337-39; yet Achilles asks essentially the same question three times in succession, and this expansion—not the questioning itself—is what is truly idiosyncratic (Martin 1993:152-53, 204).

For the broader analysis of Achilles' reply, see the comment on Iliad 9.307-429.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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